Thesis (M. Phil.)--University of Hong Kong, 1989.

Thesis (M.F.A.)--York University, 2008. Graduate Programme in Film. / Typescript. Includes filmography. Includes bibliographical references. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR45979

published_or_final_version / English Studies and Comparative Literature / Master / Master of Philosophy

No description available.

No description available.

The Subject chosen for this thesis is the interior of a room and its myriad aspects. When experienced subjectively it can appear as an outer protection or barrier for inner turmoil, providing security, shelter and privacy, or the direct opposite, four walls unnaturally imprisoning that which should be free. Objectively it provides a startling array of forms shapes and textures, both functional and nonfunctional, rigid and organic. The visual tensions influence and condition the actions and thoughts of the human figure within this environment. A room contains within its four walls residue of human thoughts, actions and emotions, a visual catalyst of memories and associations ; past and present. A room is in a constant state of evolution expressing itself in movements from light and dark - a place where time and space can be measurable. I have tried using a variety of means: signs and symbols, dots, dashes, line and tone to capture at once the stationary together with the transitory nature of observed appearances. I have dwelt on and emphasised those ambiguities which have arisen out of the process of creating an image and may reveal something of another reality.... of those submerged realities behind appearances and beyond normal consciousness. The language of an artist is able to cast a glimmer of light on those essential truths.....truths which normally elude civilised man. This thesis provides for sensory and visual appreciation rather than intellectual gratification (thus the emphasis on visual rather than written work). It comprises of a series of drawings, covering some aspects of one particular interior .... in this instance, my livingroom - an immediate environment. The drawings are essentially a visual record of sensory thinking, emotional and free-form imaginative interpretation of commonplace objects. The drawings follow a sequence, both chronologically and in thought development towards painting in which the experience gained of the room, crystallises in paint, size and colour adding dimension. The drawings should perform a dual role, one of providing a direct link with unconscious creative processes, and one of showing a developing awareness of the vital forces and movements that motivate a painting and validate the act of creating it. A variety of techniques have been used, each in its turn revealing some significant facet of the interior. Mixed media drawings predominate, for this media with its own unique properties, is capable of providing a bridge ..... an interlocking of concept and technique where image and media are inseparable.

No description available.

The notion of doubledeath, as an idea to generate work, can be seen as both an ironic reflection on the medium of photography and a critical attempt to comment on contemporary culture. In short, the inherent characteristics of the photographic medium and its function within society are combined. Photography embodies both death and the beginning of something autonomous and new in the very moment of the picture-taking process. A photograph is a mere simulation of what was once there, in front of the lens, transformed onto photographic paper. It then opens up a whole range of new possibilities to the viewer. The photograph's almost life-like appearance informs the photographic myth that is the idea that a photograph provides evidence of absolute truth. This characteristic together with the possibility of manipulating and altering a photograph has been continuously exploited by mass media to influence, make and guide our perceptions towards reality. These characteristics of image-making have left the borders between fiction and fact blurred. Living in a world of over-mediation it is hard to escape and find one's way around in this melting pot of the various realities suggested. Reality today is informed by the present trace of an absent original. When this is recorded photographically, it could be described as a doubledeath. Both this research documentation and the studio work are social comments on contemporary life and artmaking. Where photographs record scenes from life informed by visual simulation (the presence of the absent) the notion of doubledeath becomes most obvious. Moreover, they reflect contemporary culture, addressing and investigating concerns fueled by today's omnipresent commodity and life-style culture, and provoking thoughts about illusion and the crises of the real. In the 21st century we interact with, acknowledge, accept or even prefer the surface over the essence of things, and real experience becomes more diluted.

Thesis (M.F.A.)--Rochester Institute of Technology, 1989. / Includes bibliographical references.

Thesis (M.F.)--Oregon State College, 1952. / Typescript. Includes bibliographical references (leaves 44-45). Also available on the World Wide Web.